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The short-lived Japanese magazine Provoke, founded in 1968, is nowadays recognized as a major contribution to postwar photography in Japan, featuring the country’s finest representatives of protest photography, vanguard fine art and critical theory in only three issues overall. The magazine's goal was to mirror the complexities of Japanese society and its art world of the(...)
Provoke: between protest and performance. Photography in Japan 1960-1975
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The short-lived Japanese magazine Provoke, founded in 1968, is nowadays recognized as a major contribution to postwar photography in Japan, featuring the country’s finest representatives of protest photography, vanguard fine art and critical theory in only three issues overall. The magazine's goal was to mirror the complexities of Japanese society and its art world of the 1960s, a decade shaped by the country’s first large-scale student protests. The movement yielded a wave of new books featuring innovative graphic design combined with photography: serialized imagery, gripping text-image combinations, dynamic cropping and the use of provocatively "poor" materials. The writings and images by Provoke's members—critic Koji Taki, poet Takahiko Okada, photographers Takuma Nakahira, Yakata Takanashi and Daido Moriyama—were suffused with the tactics developed by Japanese protest photographers such as Nobuyoshi Araki, Eikoh Hosoe and Shomei Tomatsu, who pointed at and criticized the mythologies of modern life. Provoke accompanies the first exhibition ever to be held on the magazine and its creators. Illuminating the various uses of photography in Japan at the time, the catalogue focuses on selected projects undertaken between 1960 and 1975 that offer a strongly interpretative account of currents in Japanese art and society at a moment of historical collapse and renewal.
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Imagine Istanbul
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A striking portrait of Istanbul through the eyes of photographers and artists. Includes the works of photographers such as Ara Güler, Henri Cartier-Bresson, Bieke Depoorter.
Imagine Istanbul
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A striking portrait of Istanbul through the eyes of photographers and artists. Includes the works of photographers such as Ara Güler, Henri Cartier-Bresson, Bieke Depoorter.
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Jeux de mains
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Most artists have, at some point, represented the universal symbol of creation which is the hand. Many of them have also chosen the hand as a recurring pattern in their work. This observation inspired Cécile Poimboeuf-Koizumi — editor and founder of Chose Commune — to gather the works that caught her attention in a book, following no thematic or chronological order. The(...)
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mars 2021
Jeux de mains
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Most artists have, at some point, represented the universal symbol of creation which is the hand. Many of them have also chosen the hand as a recurring pattern in their work. This observation inspired Cécile Poimboeuf-Koizumi — editor and founder of Chose Commune — to gather the works that caught her attention in a book, following no thematic or chronological order. The selection was made in collaboration with Stephen Ellcock. From Pablo Picasso to Helena Almeida, from Louise Bourgeois to Alberto Giacometti, from John Baldessari to Francesca Woodman, and comprising a multitude of treasures from the ancient ages to documents from popular imagery, 'Jeux de mains' confronts and mixes famous, emerging and anonymous artists from a wide-range of practices. The result is a collection of more than a hundred images compiled intuitively in this book.
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Inspired and guided by Bernd and Hiller Becher, themselves pioneers in the area of documentary photography, the artists of Germany’s Düsseldorf School not only pushed the boundaries of their teachers’ practice, but also ushered in three generations of technical and compositional achievement that is rivalled in importance only by the arrival of colour photography. This(...)
The Düsseldorf School of Photography
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Inspired and guided by Bernd and Hiller Becher, themselves pioneers in the area of documentary photography, the artists of Germany’s Düsseldorf School not only pushed the boundaries of their teachers’ practice, but also ushered in three generations of technical and compositional achievement that is rivalled in importance only by the arrival of colour photography. This book introduces readers to the historic, cultural, and scientific environments in which the Bechers’ practice thrived. It explores the teaching philosophies with which they encouraged their students, and considers the qualities that highlight the Düsseldorf School: intricate detail, large scale, painterly distance combined with an immersive quality. The plate section, organized by artist, features 160 images by Andreas Gursky, Thomas Struth, Thomas Ruff, Candida Höfer, Axel Hütte, Laurenz Berges, Elger Esser, Simone Nieweg, Jörg Sasse, and Petra Wunderlich.
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Featuring photographs by Joachim Brohm, Michael Disqué, Klaus Frahm, Andreas Gehrke, John Gossage, Volker Heinze, Kai-Olaf Hesse, Lockemann/Neudörfl, Margret Nissen and Michael Schmidt. The "Topography of terror" is a one of the most significant memorial sites of recent times. How is the past inscribed in the landscape? How do we regard a place that once housed the(...)
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septembre 2019
Land's end: The 'Topography of Terror'. Site as reflected in contemporary photography
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Featuring photographs by Joachim Brohm, Michael Disqué, Klaus Frahm, Andreas Gehrke, John Gossage, Volker Heinze, Kai-Olaf Hesse, Lockemann/Neudörfl, Margret Nissen and Michael Schmidt. The "Topography of terror" is a one of the most significant memorial sites of recent times. How is the past inscribed in the landscape? How do we regard a place that once housed the central instruments of terror of the Nazi regime? How has this no-man’s-land, once at the frontier of East and West, changed over time? "Land’s end" features ten artists who photographed what is now the Topography of Terror site between 1981 und 2014, including John Gossage, Michael Schmidt and Joachim Brohm.
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France experienced a golden age of photobook production from the late 1920s through the 1950s. Avant-garde experiments in photography, text, design, and printing, within the context of a growing modernist publishing scene, contributed to an outpouring of brilliantly designed books. Making Strange offers a detailed examination of photobook innovation in France, exploring(...)
Making strange: the modernist photobook in France
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France experienced a golden age of photobook production from the late 1920s through the 1950s. Avant-garde experiments in photography, text, design, and printing, within the context of a growing modernist publishing scene, contributed to an outpouring of brilliantly designed books. Making Strange offers a detailed examination of photobook innovation in France, exploring seminal publications by Brassaï, Henri Cartier-Bresson, Robert Frank, Pierre Jahan, William Klein, and Germaine Krull. Kim Sichel argues that these books both held a mirror to their time and created an unprecedented modernist visual language. Sichel provides an engaging analysis through the lens of materiality, emphasizing the photobook as an object with which the viewer interacts haptically as well as visually. Rich in historical context and beautifully illustrated, 'Making Strange' reasserts the role of French photobooks in the history of modern art.
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$64.95
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Ce numéro inédit de Spectre invite des artistes contemporains à livrer leur interprétation du trauma végétal, interrogeant notre relation aux plantes et à la sensibilité qui leur est propre.
Spectre n° 02 : Vegetal trauma
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Ce numéro inédit de Spectre invite des artistes contemporains à livrer leur interprétation du trauma végétal, interrogeant notre relation aux plantes et à la sensibilité qui leur est propre.
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Soviet metro stations
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Canadian photographer Christopher Herwig has completed a subterranean expedition photographing the stations of each Metro network of the former USSR. From extreme marble and chandelier opulence to brutal futuristic minimalist glory, 'Soviet Metro Stations' documents this wealth of diverse architecture.
Soviet metro stations
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Canadian photographer Christopher Herwig has completed a subterranean expedition photographing the stations of each Metro network of the former USSR. From extreme marble and chandelier opulence to brutal futuristic minimalist glory, 'Soviet Metro Stations' documents this wealth of diverse architecture.
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This place
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“This Place” is a monumental photographic project that explores Israel and the West Bank, as place and metaphor, through the eyes of 10 internationally celebrated photographers: Frédéric Brenner, Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Stephen Shore, Rosalind Fox Solomon, Thomas Struth, Jeff Wall and Nick Waplington. Their photographs question the(...)
This place
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“This Place” is a monumental photographic project that explores Israel and the West Bank, as place and metaphor, through the eyes of 10 internationally celebrated photographers: Frédéric Brenner, Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Stephen Shore, Rosalind Fox Solomon, Thomas Struth, Jeff Wall and Nick Waplington. Their photographs question the history, the divisions and paradoxes of the region and its inhabitants. From the photographers’ differing visual vocabularies, nationalities and cultural backgrounds, the picture that emerges is not a single, monolithic vision but rather a diverse and fragmented portrait.
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Undeniably one of the most influential innovations of the modern world, the car has changed not only the way we live, but also the way we look at the world around us. From formal, compositional device to highly desirable, photogenic object, the car has a long and enduring appeal in modern and contemporary photography as revealed in this latest addition to the V(...)
Autofocus: the car in photography
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Undeniably one of the most influential innovations of the modern world, the car has changed not only the way we live, but also the way we look at the world around us. From formal, compositional device to highly desirable, photogenic object, the car has a long and enduring appeal in modern and contemporary photography as revealed in this latest addition to the V Photography Library. "Autofocus" explores the deep cultural significance of the car in the history of photography, playing a role both as subject matter and as a genuine creative vehicle- the means by which photographers have accomplished many of their great works. Showcased is work by Henri Cartier-Bresson, Walker Evans, Robert Frank, Edward Weston, and Weegee.
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